Miles Davis’s ‘So What’ from Kind of Blue: Immersing Yourself in the Cool and Modal Jazz Masterpiece
(A Lecture in Cool)
Alright, cats and kittens, settle in. Grab your shades 😎, pour yourself a metaphorical (or literal, I’m not judging) martini 🍸, and prepare to be transported. Tonight, we’re diving deep into the heart of cool, the very soul of modal jazz: Miles Davis’s "So What" from the iconic album Kind of Blue.
Forget everything you think you know about jazz. Forget frantic bebop speed runs and complex chord changes that would make your head spin like a top 😵💫. We’re talking about something different, something… smoother. Something… cooler.
Think of "So What" not just as a song, but as an experience. It’s a feeling, a vibe, a philosophical statement wrapped in a deceptively simple melody. It’s the sound of late nights in smoky clubs, intellectual conversations fueled by caffeine and cigarettes, and the birth of a new era in jazz.
(I. Setting the Stage: The Birth of a New Sound)
Before we dissect "So What" like a frog in biology class (don’t worry, no actual frogs will be harmed 🐸), let’s rewind the tape a little. The late 1950s were a time of musical revolution. Bebop, while impressive and technically brilliant, was becoming increasingly complex and exclusive. Musicians were searching for a new direction, a way to break free from the harmonic constraints of traditional jazz.
Enter modal jazz. 🚪 Modal jazz, in its simplest form, emphasizes melodic improvisation over scales (modes) rather than chord changes. Think of it like this:
| Traditional Jazz (Bebop) | Modal Jazz (Like "So What") |
|---|---|
| Focused on complex chord progressions | Focused on melodic improvisation over modes |
| Many chord changes within a short space | Fewer chord changes, allowing for greater melodic exploration |
| Emphasis on harmonic complexity | Emphasis on atmosphere and mood |
| "Faster, higher, more notes!" | "Cooler, deeper, more feeling!" |
Instead of navigating a dizzying maze of chords, soloists in modal jazz could focus on exploring the colors and textures of a particular mode, creating a more spacious and ethereal sound. This opened up new possibilities for melodic invention and emotional expression.
(II. Kind of Blue: The Mona Lisa of Jazz)
And then came Kind of Blue (1959). 👑 Often hailed as the greatest jazz album of all time (a claim I’m not going to argue with), Kind of Blue wasn’t just a collection of songs; it was a manifesto. It was a statement of intent. It was modal jazz perfected.
Miles Davis, a visionary trumpeter and bandleader, assembled a dream team of musicians:
- Miles Davis: Trumpet (duh! 🎺)
- Julian "Cannonball" Adderley: Alto Saxophone (smooth and soulful 🎷)
- John Coltrane: Tenor Saxophone (a force of nature 🌪️)
- Bill Evans: Piano (the architect of the modal sound 🎹)
- Wynton Kelly: Piano (appears briefly on "Freddie Freeloader")
- Paul Chambers: Bass (the steady heartbeat of the ensemble 🫀)
- Jimmy Cobb: Drums (subtle and sophisticated percussion 🥁)
Together, they crafted a sound that was both innovative and timeless. Kind of Blue wasn’t just popular; it was revolutionary. It influenced generations of musicians and continues to captivate listeners to this day.
(III. "So What": The Ultimate Expression of Cool)
Now, let’s zero in on the star of our show: "So What." This isn’t just a catchy tune; it’s a masterclass in modal jazz composition and improvisation. It’s the musical equivalent of a perfectly tailored suit, understated elegance, and a knowing smirk. 😎
(A. Structure and Form: Simplicity is Key)
The beauty of "So What" lies in its simplicity. The form is straightforward:
- Intro (4 bars): A haunting call-and-response between piano and bass.
- A Section (16 bars): D Dorian mode (Dm7)
- B Section (8 bars): Eb Dorian mode (Ebm7) – a half-step modulation.
- A Section (8 bars): D Dorian mode (Dm7)
- Head (AABA form) repeated for each soloist.
See? Nothing too complicated. But don’t let the simplicity fool you. Within this framework, the musicians create a world of depth and nuance.
(B. The Iconic Intro: A Question and an Answer)
The intro is arguably the most recognizable part of "So What." It’s a simple, yet profound, conversation between the piano and bass. Bill Evans’s piano voicings are like whispers in the dark, setting the mood for the entire piece. Paul Chambers’s bass responds with a grounding, anchoring presence.
Think of it as a question: "Are you ready for this?" And the answer: "So What." 🤷♂️ A shrug of the shoulders, a nonchalant acceptance of the unknown. It’s the perfect introduction to the cool, detached attitude of the song.
Let’s break down the chords (though remember, it’s more about the sound than the specific chords):
| Bar | Piano (Simplified) | Bass |
|---|---|---|
| 1 | Dm9 | D |
| 2 | Gm9 | G |
| 3 | Dm9 | D |
| 4 | Am9 | A |
Notice the use of 9th chords. These add a color and richness to the sound, contributing to the overall feeling of sophistication.
(C. The Dorian Mode: A Melodic Playground)
The main body of "So What" revolves around the Dorian mode. For those unfamiliar, a mode is simply a type of scale. The Dorian mode is a minor scale with a raised 6th degree.
Think of it this way:
- D Natural Minor Scale: D – E – F – G – A – Bb – C – D
- D Dorian Mode: D – E – F – G – A – B – C – D (notice the B instead of Bb)
That single note, the raised 6th, makes all the difference. It gives the Dorian mode a slightly brighter, more hopeful quality than the natural minor scale. It’s a subtle shift, but it allows for a wider range of melodic possibilities.
Imagine the Dorian mode as a playground. 🎡 The musicians can swing on the melodies, slide down the scales, and explore all the nooks and crannies. The lack of complex chord changes gives them the freedom to truly express themselves.
(D. The Soloists: Each Voice a Unique Story)
Now, let’s talk about the solos. Each soloist brings their own unique voice and personality to "So What."
-
Miles Davis: His trumpet solo is a masterclass in restraint and understatement. He doesn’t try to overwhelm you with technical virtuosity. Instead, he focuses on creating melodic phrases that are both beautiful and emotionally resonant. His playing is like a perfectly sculpted sculpture, every note carefully considered and placed. 🗿
-
John Coltrane: In contrast to Davis’s cool detachment, Coltrane’s solo is fiery and intense. He explores the Dorian mode with a sense of urgency and passion. You can hear him pushing the boundaries of the music, searching for new ways to express himself. His playing is like a volcano erupting, a force of nature unleashed. 🌋
-
Cannonball Adderley: Adderley’s alto saxophone solo is a perfect blend of soulfulness and sophistication. He injects a bluesy feel into the Dorian mode, creating a sound that is both accessible and deeply moving. His playing is like a warm embrace, a comforting presence in the midst of the cool. 🤗
Each soloist’s approach to "So What" highlights the versatility of the Dorian mode and the power of individual expression within a modal framework.
(E. The Half-Step Modulation: A Subtle Shift in Perspective)
The modulation to Eb Dorian in the B section is a subtle but important element of "So What." It’s a small shift, only a half-step, but it creates a noticeable change in mood and atmosphere.
Think of it as a brief moment of introspection, a slight change in perspective. 🤔 It adds a touch of melancholy to the overall sound, reminding us that even in the midst of cool detachment, there is still room for vulnerability.
(IV. Why "So What" Still Matters Today)
"So What" isn’t just a historical artifact; it’s a living, breathing piece of music that continues to resonate with listeners today.
Here’s why it still matters:
- Simplicity and Accessibility: Despite its innovative approach, "So What" is remarkably accessible. Its simple structure and memorable melody make it easy for anyone to appreciate. You don’t need to be a jazz expert to enjoy it.
- Timeless Cool: The "cool" aesthetic of "So What" is timeless. It’s a feeling that transcends generations. It’s the sound of effortless style, understated elegance, and a knowing wink. 😉
- Emphasis on Melody and Emotion: In a world of increasingly complex and technical music, "So What" reminds us of the importance of melody and emotion. It’s a reminder that music should be about feeling something, connecting with something deeper within ourselves.
- A Gateway to Jazz: "So What" is often recommended as a gateway to jazz for newcomers. Its accessibility and iconic status make it a perfect starting point for exploring the vast and diverse world of jazz music.
(V. Listening Guide: Immerse Yourself in the Sound)
Okay, enough talk. Let’s listen to "So What" again, but this time with a more informed ear. 👂 I encourage you to put on your headphones, close your eyes, and really immerse yourself in the sound.
Here’s a guide to help you focus your listening:
| Section | Focus | Questions to Ask Yourself |
|---|---|---|
| Intro | The haunting call-and-response between piano and bass. | What mood does this intro create? How does it make you feel? |
| Miles Davis’s Solo | His restraint and understatement. | What is he not playing? How does he create emotion with so few notes? |
| John Coltrane’s Solo | His fiery intensity and exploration of the Dorian mode. | How does his solo contrast with Davis’s? What emotions does he evoke? |
| Cannonball Adderley’s Solo | His soulful and sophisticated sound. | How does he blend blues and jazz? What makes his solo so accessible? |
| The Modulation to Eb Dorian | The subtle shift in mood and atmosphere. | How does this modulation affect the overall feeling of the song? |
| The Ensemble Playing | The interplay between the musicians, the subtle nuances, the overall groove. | How do the musicians support each other? What makes this ensemble so special? |
As you listen, try to imagine yourself in a smoky jazz club, surrounded by cool cats and kittens, lost in the magic of the music. Let the sound wash over you, and let it transport you to another time and place.
(VI. Beyond "So What": Exploring the Legacy of Modal Jazz)
"So What" is just the tip of the iceberg. 🧊 If you’ve enjoyed this exploration of modal jazz, there’s a whole world of music waiting for you to discover.
Here are some other albums and artists to check out:
- John Coltrane: A Love Supreme, Giant Steps (yes, even Giant Steps has modal elements!), My Favorite Things
- Miles Davis: Sketches of Spain, In a Silent Way
- Bill Evans: Portrait in Jazz, Explorations
- Herbie Hancock: Maiden Voyage, Empyrean Isles
- Wayne Shorter: Speak No Evil, Adam’s Apple
These artists and albums represent some of the most innovative and influential music of the 20th century. They pushed the boundaries of jazz and created a sound that is both timeless and deeply personal.
(VII. Conclusion: Embrace the Cool)
"So What" is more than just a song; it’s a state of mind. It’s an invitation to embrace the cool, to let go of your inhibitions, and to express yourself freely. It’s a reminder that sometimes, the simplest things are the most profound.
So, the next time you’re feeling stressed, overwhelmed, or just plain uncool, put on "So What," close your eyes, and let the music wash over you. Let it remind you to take a deep breath, relax, and say, "So What." 🤷♀️
You might just find yourself feeling a little bit cooler. 😉
(End of Lecture)
