“So What” : A Quintessential Journey Through Modal Jazz and Hard Bop Infused With Unbridled Coolness
“So What,” the iconic opening track from Miles Davis’ groundbreaking album “Kind of Blue” (1959), isn’t just a jazz standard; it’s a sonic revolution. This deceptively simple melody, built on a modal framework rather than traditional chord progressions, redefined jazz improvisation and ushered in a new era of musical exploration.
Miles Davis, the enigmatic trumpeter and bandleader, was already a legend in the making by 1959. Having explored bebop, cool jazz, and hard bop, he felt a growing restlessness with the conventional harmonic structures of the time. He sought a freer approach to improvisation, one that allowed musicians to explore melodic ideas within a broader sonic landscape.
Enter “modal jazz,” a concept pioneered by pianist George Russell in his book “Lydian Chromatic Concept of Tonal Organization.” This theory emphasized scales and modes (sets of notes with characteristic melodic qualities) over traditional chord progressions. Davis embraced this idea, recognizing its potential for liberating improvisation and creating music that was both structured and spontaneous.
“So What,” composed by Davis himself, perfectly embodies the modal jazz aesthetic. The piece is based on two simple Dorian modes – a scale with a melancholic yet uplifting character – creating a harmonic landscape that is spacious and open to interpretation.
The track begins with John Coltrane’s hauntingly beautiful soprano saxophone melody, setting the stage for the improvisations to come. Davis enters next, his muted trumpet echoing Coltrane’s theme with a sense of restrained elegance. The rhythm section, featuring pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, provides a solid but understated foundation for the soloists.
The genius of “So What” lies in its simplicity and ambiguity. There are no traditional chord changes to guide the improvisers; instead, they navigate the melodic terrain of the Dorian modes, creating spontaneous melodies that flow organically from one phrase to the next.
This approach opened up a world of possibilities for jazz improvisation, allowing musicians to explore a wider range of musical ideas and express themselves with greater freedom.
The impact of “So What” on the jazz world was seismic. It became an instant classic, inspiring generations of musicians to embrace modal jazz and explore new avenues of improvisation. Its influence can be heard in countless jazz recordings that followed, from the avant-garde experiments of John Coltrane to the fusion innovations of Herbie Hancock.
The Musical Landscape: A Closer Look at “So What”
The structure of “So What” is remarkably straightforward:
- Introduction: Coltrane’s haunting soprano saxophone melody establishes the modal framework (Dorian mode).
- First Solo Section: Davis enters with his muted trumpet, echoing and developing Coltrane’s theme.
- Second Solo Section: Coltrane returns with a fiery improvisation, showcasing his unparalleled virtuosity.
- Third Solo Section: Davis takes another solo, this time venturing into more exploratory territory.
- Outro: The piece fades out gently, leaving the listener in a state of contemplative serenity.
The magic of “So What” lies not just in its structure but also in the interplay between the musicians. Coltrane’s soaring improvisations contrast beautifully with Davis’ understated elegance, while Evans’ pianistic comping adds depth and texture to the harmonic landscape. Chambers’ steady bassline provides a grounding force, and Cobb’s nuanced drumming subtly propels the music forward.
The Legacy of “So What”
“So What” remains one of the most influential jazz recordings of all time. Its innovative use of modal improvisation and its timeless melody continue to inspire musicians across genres. The piece has been covered by countless artists, from classical pianists to rock bands, testament to its enduring appeal.
Beyond its musical significance, “So What” represents a pivotal moment in the history of jazz. It marked a departure from the traditional harmonic structures of bebop and hard bop, paving the way for new and exciting directions in improvisation.
This groundbreaking track not only redefined jazz but also broadened its horizons, making it accessible to a wider audience and cementing its place as a truly universal art form.