So What – A Melodic Exploration into Modal Jazz and Bebop Improvisation

“So What,” the iconic opening track from Miles Davis’ seminal 1959 album Kind of Blue, is a landmark piece that redefined jazz music, ushering in an era of modal improvisation. This deceptively simple composition, with its sparse melody and hypnotic groove, became a touchstone for generations of musicians, demonstrating the power of space and ambiguity in musical expression.

Miles Davis’ Kind of Blue wasn’t just an album; it was a sonic revolution. Recorded over two sessions in March 1959, it captured the essence of a burgeoning movement within jazz – modal jazz. Unlike traditional bebop, which relied heavily on complex chord progressions, modal jazz focused on creating moods and atmospheres by emphasizing individual scales (modes) rather than specific chords. “So What” epitomizes this approach with its use of only two modes – D Dorian and Eb Dorian – allowing the soloists unprecedented freedom to explore melodic ideas within those frameworks.

The brilliance of “So What” lies in its deceptively straightforward structure. The tune consists of a repeated four-bar phrase, creating an almost mantra-like effect that invites deep listening and contemplative reflection. Over this hypnotic backdrop, the soloists – Miles Davis on trumpet, John Coltrane on tenor saxophone, Cannonball Adderley on alto saxophone, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums – embark on individual journeys of musical exploration.

Davis’ trumpet melody is lyrical yet understated, setting the stage for the improvisational interplay to follow. Coltrane, renowned for his fiery intensity, delivers a soaring solo characterized by extended phrases and adventurous harmonic explorations. Adderley brings his trademark bluesy swagger and playful agility to the proceedings, while Evans’ piano playing weaves intricate melodies and delicate harmonies that complement the overall sound.

The rhythmic foundation laid by Chambers and Cobb is crucial to the success of “So What.” Chambers’ walking bassline provides a constant pulse, grounding the music while allowing for harmonic movement. Cobb’s drumming is characterized by its subtle nuances and understated power, providing just enough propulsion to keep the groove flowing.

The impact of “So What” on jazz history cannot be overstated. The tune’s simplicity, accessibility, and improvisational freedom inspired countless musicians across generations. Its modal approach paved the way for a new era of musical exploration, opening up limitless possibilities for improvisation and expression.

Beyond its musical significance, “So What” has also become a cultural touchstone. It has been sampled and referenced in numerous works of art, film, and television, solidifying its place as a timeless masterpiece.

Deconstructing the Melody:

The Modal Structure:

“So What” utilizes a unique modal approach, focusing on two Dorian modes – D Dorian and Eb Dorian.

• Dorian Mode: A minor mode with a raised sixth degree, giving it a brighter, more melancholic sound compared to the natural minor scale.
• Eb Dorian: The same pattern as D Dorian but transposed up a half step.

This minimalist harmonic framework provides a spacious canvas for improvisation. Instead of adhering to complex chord changes, the soloists explore the melodic possibilities within each mode, creating unique and unexpected musical phrases.

Miles Davis’ Legacy:

Miles Davis was a true innovator who continually pushed the boundaries of jazz music. He led groundbreaking ensembles, experimented with various styles and genres, and inspired countless musicians with his improvisational brilliance and fearless approach to sound. His influence on jazz is immeasurable, and “So What” remains one of his most enduring legacies, a testament to his genius and his unwavering commitment to musical exploration.

Listening to “So What”:

• Focus on the Groove: Pay attention to the hypnotic rhythmic interplay between Chambers’ bassline and Cobb’s understated drumming.
• Appreciate the Space: Notice how the soloists utilize pauses and silence effectively, creating a sense of anticipation and drama.
• Embrace the Ambiguity: The modal structure allows for greater freedom in improvisation. Listen for the unique melodic ideas and unexpected harmonic turns that each soloist explores.

“So What” is not just a piece of music; it’s an experience. It invites you to step outside conventional expectations and embrace the beauty of improvisation, space, and exploration. So put on your headphones, close your eyes, and let “So What” transport you to another musical dimension.