So What: An Exploration of Modal Jazz and Introspective Harmonies

“So What,” the iconic opening track from Miles Davis’ groundbreaking album “Kind of Blue,” transcends simple categorization as a jazz standard. This composition embodies the essence of modal jazz, a revolutionary approach that shifted away from traditional chord progressions towards exploring scales and modes for extended improvisation.
Miles Davis, already an established figure in bebop and hard bop, was seeking a new sonic landscape. He collaborated with pianist Bill Evans, bassist Paul Chambers, drummer Jimmy Cobb, saxophonist John Coltrane, and alto saxophonist Cannonball Adderley to record “Kind of Blue” in 1959. This album became a testament to Davis’ visionary approach and his unparalleled ability to coax extraordinary performances from his bandmates.
“So What,” with its deceptively simple melody and skeletal chord structure, provides a fertile ground for exploration. The piece revolves around two Dorian modes – D Dorian and Eb Dorian – creating a haunting and introspective atmosphere. The lack of defined chord changes allows the musicians immense freedom to express themselves melodically and rhythmically.
The Modal Landscape:
Davis’ use of modal jazz marked a departure from the complex harmonic structures prevalent in bebop. Instead of relying on constantly changing chords, “So What” utilizes two modes – D Dorian and Eb Dorian – as the harmonic foundation. These modes contain specific scales and melodic patterns that create a distinctive sonic color.
Imagine a painter stepping away from detailed brushstrokes and embracing broad washes of color. That’s what modal jazz does harmonically; it simplifies the underlying structure to allow for greater improvisational freedom.
The musicians are not confined by rigid chord changes, allowing them to explore melodic ideas within the defined mode. The result is a sense of spaciousness and exploration, characteristic of “So What” and “Kind of Blue.”
Bill Evans’ Contribution:
Pianist Bill Evans played a pivotal role in shaping the sound of “So What.” His delicate touch and impressionistic approach contrasted with Davis’ more angular phrasing, creating a captivating dialogue.
Evans’ solos are characterized by their lyrical quality and intricate melodic lines. He navigates the modal landscape with ease, weaving in and out of the D Dorian and Eb Dorian modes, seamlessly transitioning between them. His playing evokes a sense of fragility and introspection, perfectly complementing the mood of the piece.
The Power of Improvisation:
“So What” highlights the power of collective improvisation. Each musician contributes their unique voice to the tapestry of sound, responding to and interacting with one another in real-time.
Notice how John Coltrane’s fiery tenor saxophone solos contrast with Cannonball Adderley’s smooth and soulful alto saxophone lines. Davis’ muted trumpet punctuates the proceedings with its signature cool tone. The rhythm section – Paul Chambers on bass and Jimmy Cobb on drums – lays down a steady foundation, allowing the soloists to soar above.
This interplay between individual voices and the collective whole is what makes “So What” such a compelling and enduring masterpiece.
Deconstructing “So What”: A Closer Look at the Structure:
The structure of “So What” is deceptively simple:
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Introduction: The piece opens with Davis’ muted trumpet stating the melody, which is based on a repeating four-note motif.
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First Solo: Evans launches into a contemplative solo, exploring the D Dorian mode.
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Second Solo: Coltrane follows with a more intense and bluesy improvisation, navigating both D Dorian and Eb Dorian modes.
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Third Solo: Adderley takes the lead, offering a melodically rich and soulful solo.
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Fourth Solo: Davis returns for a brief but memorable trumpet solo, showcasing his signature phrasing and harmonic sense.
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Outro: The piece fades out with a restatement of the melody by the ensemble.
The Enduring Legacy of “So What”:
“So What” has had an enduring impact on jazz music and beyond. It helped pave the way for modal jazz to become a dominant force in the genre, influencing countless musicians who followed.
Beyond its musical significance, “So What” has transcended cultural boundaries. It has been sampled in hip-hop tracks, used in films and television shows, and even played by classical orchestras.
Table: Musicians on “So What”
Musician | Instrument | Contribution |
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Miles Davis | Trumpet | Lead melody, improvisation |
Bill Evans | Piano | Harmonically rich solos |
John Coltrane | Tenor Saxophone | Intense and bluesy improvisation |
Cannonball Adderley | Alto Saxophone | Smooth and soulful improvisations |
Paul Chambers | Bass | Steady rhythmic foundation |
Jimmy Cobb | Drums | Rhythmic support, driving the ensemble forward |
“So What” continues to captivate listeners with its haunting melody, spacious harmonies, and masterful improvisation. It is a testament to the power of musical innovation and the enduring legacy of Miles Davis and his collaborators.