“So What” : An Exploration of Modal Jazz and its Unhurried Groove
“So What,” composed by Miles Davis, stands as a seminal piece in jazz history, marking a pivotal transition from bebop to modal jazz. Released in 1959 on the groundbreaking album “Kind of Blue,” this composition revolutionized the way musicians approached improvisation, favoring scales and modes over complex chord changes. The result? A hauntingly beautiful, yet deceptively simple melody that invites deep contemplation and a sense of unhurried groove.
Davis, already a titan in the bebop scene with his collaborations on seminal albums like “Birth of the Cool,” sought a fresh sonic landscape. He assembled an extraordinary ensemble for “Kind of Blue” – John Coltrane on tenor saxophone, Cannonball Adderley on alto saxophone, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. Each musician was a virtuoso in their own right, but it was Davis’s innovative vision that truly brought the music to life.
Instead of relying on traditional chord progressions, “So What” utilizes two Dorian modes – D Dorian for the first 8 bars and Eb Dorian for the subsequent 8 bars. This simplification allowed for greater freedom of improvisation, with musicians exploring melodic ideas within the framework of these scales. The piece’s iconic melody, played initially by Davis’s muted trumpet, is instantly recognizable for its melancholic beauty and its haunting repetition.
Listen closely to “So What” and you’ll notice something remarkable – a sense of spaciousness and tranquility permeates the music. This is a direct result of the modal approach: with fewer chords to navigate, the musicians have ample space to develop their ideas and create captivating melodic dialogues. Evans’s understated piano comping provides a shimmering backdrop, while Coltrane and Adderley trade electrifying solos that soar above the rhythmic foundation laid down by Chambers and Cobb.
Deconstructing “So What”: A Look at Its Structure
“So What” follows a simple yet effective structure:
| Section | Measures | Tempo | Key/Mode |
|---|---|---|---|
| Introduction (Trumpet Melody) | 8 | Slow Tempo | D Dorian |
| Solo Section (Coltrane) | 16 | Medium Tempo | Eb Dorian |
| Solo Section (Adderley) | 16 | Medium Tempo | Eb Dorian |
| Solo Section (Evans) | 16 | Medium Tempo | Eb Dorian |
| Outro (Trumpet Melody) | 8 | Slow Tempo | D Dorian |
The piece begins with Davis’s iconic trumpet melody, stated twice in the key of D Dorian. This simple yet haunting theme sets the stage for the improvisational journey that follows. After the initial statement, Coltrane takes the lead, delivering a soulful and exploratory saxophone solo in Eb Dorian. Adderley follows suit with a similarly inventive alto saxophone solo, further expanding upon the modal framework.
Evans’s piano solo is a masterclass in understated elegance. He avoids flashy pyrotechnics, instead focusing on delicate melodies and harmonically rich chords that complement the solos of the horns. Finally, Davis returns to restate the main theme, bringing the piece to a satisfying conclusion.
The Legacy of “So What” : A Timeless Classic
“So What,” along with the entirety of “Kind of Blue,” has become one of the most influential and enduring jazz albums of all time. It opened up new possibilities for improvisation and challenged conventional notions of harmony and structure within the genre. This groundbreaking work continues to inspire musicians across generations and genres, its influence reaching far beyond the realm of jazz.
Beyond its musical impact, “So What” stands as a testament to the power of creative collaboration. Davis’s visionary leadership combined with the exceptional talents of his bandmates resulted in a timeless masterpiece that transcends temporal boundaries. Listening to “So What” today, one can still feel the sense of exploration and innovation that permeated its creation. The piece invites us to pause, reflect, and appreciate the beauty of simplicity and the boundless possibilities of musical improvisation.
For those venturing into the world of jazz, “So What” serves as an excellent starting point – a doorway into a realm where melodies dance freely, rhythms pulsate with life, and emotions are expressed with unmatched nuance.