Neo-bop jazz

With Neobop a style of jazz is called, which has emerged as a result of recurring interest in the bebop and hard bop from the late 1970s.

Public interest

Ekkehard Jost describes the public's interest on Neobop so that this " after the times of uncertainty caused by the free jazz and the years of over-stimulation by the electric jazz " like an oasis of peace, relaxation, security appeared "; the Neobop fit " obvious " to this " state of consciousness and the ... resulting from their needs." The Neobop built on a kind of bebop revival, which was strongly influenced by the new quintet of Dexter Gordon and his plate Homecoming ( 1976), when he first appeared in the United States after many years of absence.

Training of Neobop

In its new edition of Jazz book in 1991 Joachim -Ernst Berendt and Gunther Huesmann describe the Neobop one hand, as a further development of a main stream, whose groups have been formed twenty years earlier, and the other as a style newly -formed ensembles. The Neobop movement of the 70s also spawned new groups, such as the quintet of the late 1989 Woody Shaw, the " made ​​a significant contribution to the reconciliation of Bebop on the one hand and on the other hand Modal game ".

For the numerous ensembles in the 1980s, the designated Berendt / Huesmann as " groups of classicism of bebop ," Blakey were various Jazz Messengers expenditure as a springboard for the groups that the bebop - oriented style of play stylistically refined and expanded: the Wynton Marsalis band, the Branford Marsalis Quartet, Terence Blanchard / Donald Harrison Quintet, the Mulgrew Miller Band and the group of trumpeter Wallace Roney. The target of these bands, the authors call "the idea of ​​musical integration ", the "create cohesion and communicative density in a group ." Model is primarily for the Blanchard / Harrison Quintet, the second Miles Davis quintet of the 60s have been.

After more bands like that of Nicholas Payton and Joshua Redman came. No matter whether this classic bebop topics is accepted or not, it is by no means a simple "Revival ". Rather, the game differs significantly from that of the 1940s, as harmonious achievements of the intervening time (eg, modal jazz improvisation ), new instrumental techniques (eg multiphonics or cluster chords ), but also a better gain ( eg the example, the use of percussive effects Flageoletttönen or allowed) significantly affect the structure and development of the pieces. A special attribute of the Neobop is the straight -ahead game.