Knowledge (XXG)

Neo-bop

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40: 295: 333:, called "the birth point of the Re-bop Renaissance." A crucial difference, however, between the neo-bop movement and its bop predecessors was that neo-bop had academic roots and rejected the "iconoclastic" and rebellious lifestyles of the bop era. Marsalis instead advocated that jazz could achieve "fine-art" status and be compared to classical music rather than rock music. 2129: 389:, this new subgenre remained related to the broader straight-ahead category, but was no longer "recycling the past" as some claimed. Alternatively, neo-bop has been criticized for lacking the innovation of the pioneering beboppers of the 1940s and 1950s and for being too reliant upon the commercial success of CD sales. 281:
who, along with Marsalis, became a militant advocate of the core jazz elements as defined by Murray. Crouch went on to contend that many of the devices of avant-garde and fusion were grandstanding and used as a cover for lazy-mindedness or lack of musicianship. Crouch wrote, "We should laugh at
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While his predecessors of the previous two decades had experienced financial success in fusion genres, his commitment to the traditional definition of "jazz" caught on with a school of musicians from Marsalis' age group, including
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Some bebop and post-bop musicians were lukewarm to the avant-garde explorations of the 1960s and rejected the electronically based, pop-influenced sounds of jazz fusion. Most prominent among these was the drummer
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credited Blakey with keeping jazz from being completely eclipsed by fusion during the 1970s. Many of the younger musicians who went on to form the core of the neotraditionalist "Young Lions," including
214:" 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. 286:
program in New York, where Crouch and Marsalis would serve as artistic directors. JALC would become one of the main institutional promoters of the neotraditionalist movement.
411:"JAZZ : The Young Lions' Roar : Wynton Marsalis and the 'Neoclassical' Lincoln Center Orchestra are helping fuel the noisiest debate since Miles went electric" 576: 450: 1155: 385:
With the revival of hard bop as mainstream jazz in the 1990s, neo-bop jazz began to form its own reputation as a distinct subgenre of jazz. According to critic
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musicians who either abstained the avant-garde and fusion movements, or returned to music based on more traditional styles after experimenting with them.
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that gained popularity in the 1980s among musicians who found greater aesthetic affinity for acoustically based, swinging, melodic forms of jazz than for
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calling it "warmed over turkey" and others deeming it to be too dependent on the past. The movement, however, received praise from
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that had gained prominence in the 1960s and 1970s. Neo-bop is distinct from previous bop music due to the influence of trumpeter
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and "The Young Lions," for example, have been associated with neo-bop and post-bop. Neo-bop was also embraced by established,
1150: 788: 723: 438: 277:, contended that true jazz was based on three elements, swing, blues tonalities, and acoustic sounds. His ideas influenced 1344: 1319: 1244: 1175: 1165: 1339: 1294: 1218: 1213: 1208: 1180: 1094: 493: 1359: 1160: 2158: 1790: 1437: 1354: 1104: 151: 1453: 1392: 1109: 362: 1427: 1329: 1279: 1185: 1145: 1124: 1114: 1084: 319: 604:"Back to the Basics: Wynton Marsalis, the Young Lions and Preserving Jazz Traditions - Black Music Scholar" 1785: 1657: 1412: 1402: 1369: 1129: 1089: 1074: 1061: 681: 283: 270: 2106: 1497: 1422: 1387: 1119: 1099: 1079: 1069: 766: 410: 2153: 2057: 1872: 1780: 1484: 1259: 1170: 1902: 1502: 1349: 1254: 843: 808: 632: 581: 547: 470: 258:, whose Jazz Messengers group was a stylistic incubator for like-minded younger musicians. Drummer 226: 72: 1882: 1765: 1672: 1645: 1535: 1314: 918: 771: 716: 306: 520: 2090: 2013: 1239: 636: 415: 366: 338: 329: 282:
those who make artistic claims for fusion." In 1987 Murray, Crouch, and Marsalis founded the
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The return to more traditionally-based styles earned both praise and criticism, with
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magazine and others who welcomed the return of more accessible forms of jazz.
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(6 Nov 1995). 298:Bassist Christian McBride in 2009 2127: 453:from the original on 2023-10-09 267:, were Jazz Messengers alumni. 1459:Institutions and organizations 546:Crouch, Stanley (March 2002). 1: 1156:Cool jazz and West Coast jazz 680:Davis, Francis (1996-07-01). 521:"The Professor of Connection" 437:Stein, Michael (2022-04-27). 194:Neo-bop contains elements of 44:Joshua Redman Quartet in 2018 327:label was, according to the 2175: 2123: 1485:See Template: Jazz theory 210:. As both "neo-bop" and " 152:List of neo-bop musicians 150: 37: 381:1990s: Distinct subgenre 608:blackmusicscholar.com/ 305:, son of jazz pianist 299: 284:Jazz at Lincoln Center 61:Neotraditionalist jazz 297: 1873:Bibliography of jazz 1653:Continental European 633:Taylor & Francis 482:University of Dayton 182:developments of the 2114:Straight, No Chaser 1903:Straight-ahead jazz 1360:Winter & Winter 809:French horn in jazz 582:The Washington Post 273:, in his 1976 book 227:straight-ahead jazz 100:Typical instruments 73:Straight-ahead jazz 2058:West African music 1883:British dance band 1673:European free jazz 1646:British dance band 1139:Musicians by genre 919:Free improvisation 661:www.scottyanow.com 500:. 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Index

Neo-bop jazz

Straight-ahead jazz
Bebop
Hard bop
Trumpet
saxophone
piano
acoustic bass
drums
Continental jazz
List of neo-bop musicians
jazz
free jazz
jazz fusion
Wynton Marsalis
countercultural
beat generation
bebop
post-bop
hard bop
modal jazz
post-bop
United States
Wynton Marsalis
straight-ahead jazz
Miles Davis
Time
Art Blakey
Cindy Blackman

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