So What - A Haunting Ballad Steeped in Cool and Angular Melodies

“So What,” composed by the legendary Miles Davis, is a cornerstone of modal jazz, a genre characterized by its departure from traditional harmonic progressions and embrace of improvisation within specific scales or modes. This groundbreaking piece, released on Davis’s 1959 album “Kind of Blue,” revolutionized jazz by eschewing complex chord changes for a simpler, more atmospheric approach, paving the way for countless musicians to explore new sonic landscapes.

Miles Davis, born in Alton, Illinois in 1926, was a true musical innovator and a figure who indelibly shaped the course of jazz history. From his bebop beginnings with Charlie Parker to his pioneering work in cool jazz and modal improvisation, Davis constantly pushed boundaries and challenged conventions. His collaborations with Gil Evans, John Coltrane, and Bill Evans, among others, resulted in some of the most influential recordings in jazz, showcasing his unparalleled improvisational skill and musical vision.

“So What,” with its iconic opening melody played by Cannonball Adderley’s alto saxophone, is instantly recognizable. The piece unfolds over a simple two-chord structure (D Dorian and Eb Dorian), allowing for expansive improvisation within these modal frameworks. This minimalist approach frees the musicians from the constraints of traditional harmony, creating an ethereal and spacious sonic landscape.

The rhythm section, comprised of Paul Chambers on bass and Jimmy Cobb on drums, provides a subtle yet propulsive backdrop for the soloists. Their masterful interplay and understated groove create a sense of effortless cool, a hallmark of Davis’s music.

One of the most striking aspects of “So What” is its structure. The piece unfolds in two distinct sections, each characterized by its own unique melody and harmonic progression. The first section, played over the D Dorian mode, features Adderley’s haunting saxophone melody followed by an extended solo from Davis himself on trumpet.

The second section, played over the Eb Dorian mode, introduces a new melodic idea, often attributed to Bill Evans, though its origins remain somewhat ambiguous. This section allows for further exploration and improvisation from the musicians, building upon the foundations laid in the first half.

As the piece progresses, the solos intertwine seamlessly with the underlying melody, creating a sense of unity and flow. The musicians listen intently to each other, responding to cues and ideas with remarkable sensitivity and empathy. This intuitive interplay is what truly elevates “So What” from a mere composition to a living, breathing work of art.

The legacy of “So What” extends far beyond its initial release. It has been covered by countless artists across genres, from jazz legends like Herbie Hancock and John McLaughlin to rock bands like The Grateful Dead and Radiohead. Its influence can be heard in everything from film scores to advertising jingles.

The piece’s enduring appeal lies not only in its innovative musical structure but also in its ability to evoke a sense of introspection and contemplation. “So What” is a musical journey that invites the listener to engage with its subtle nuances and explore their own inner landscapes.

Here’s a table summarizing some key information about “So What”:

Feature	Detail
Composer	Miles Davis
Album	Kind of Blue (1959)
Genre	Modal Jazz
Instruments	Trumpet, Alto Saxophone, Piano, Bass, Drums

“So What” remains a testament to Miles Davis’s genius and his enduring impact on the world of music. It is a piece that continues to inspire and challenge listeners decades after its creation, solidifying its place as one of the most important and influential jazz compositions of all time.