|
Reader,
There are few jazz albums that have completely changed the direction of jazz forever. But without a doubt, Kind of Blue by Miles Davis is one of them. And of all the tracks on that legendary album, perhaps none has had a greater impact than So What.
Miles’ solo on this tune is deceptively simple—but beneath the surface, it’s a masterclass in space, motivic development, and modal improvisation. He doesn’t play fast, he doesn’t play flashy, but every note feels intentional. So let’s break it down and see what makes this solo so powerful.
|
|
|
Join our workshop this Friday
This is week 2 of our new series on scale running. Last week we took a look at what scale running is, and this week we'll put it into practice on the tune The Nearness of You.
This workshop is free to join, you just need to let me know you're coming.
On Zoom at 1pm Eastern, this Friday, March 7th.
|
|
|
Today's 2-5-1
Each week I share 2 transcribed phrases, 5 ideas observed from 1 featured jazz recording.
|
|
|
|
|
So What
Recorded by the Miles Davis Sextet in 1959. Miles Davis (trumpet), John Coltrane (tenor saxophone), Cannonball Adderley (alto saxophone), Bill Evans (piano), Paul Chambers (bass), Jimmy Cobb (drums).
|
|
|
|
To see the full transcription, including the rest of my observations make sure to download the full transcription below:
Full transcription: So What.pdf
Here are 5 observations I have about this tune as a whole.
- Unlike bebop tunes with fast-moving chord changes, So What is built on just two chords: D Dorian and Eb Dorian, allowing for a freer, more melodic approach to improvisation.
- The tune follows an A-A-B-A structure, with the A sections sitting entirely on a D minor chord and the B section shifting up a half step to Eb Dorian
- D Dorian and Eb Dorian have little in common harmonically, besides both being Dorian, which creates harmonic interest.
- Miles leaves plenty of open space in his solo -- silence is just as important as the notes. Each phrase is intentional and expressive. A stark contrast from the busy
- Miles builds his solo by repeating and varying simple melodic motif's, which are highlighted in the transcription above.
This week on the YouTube channel
 These Notes Shouldn’t Work but They’re Pure Magic
|
|
|
|
|
Josh Walsh
Say hi 👋🏻 on YouTube or BlueSky.
Or, just reply to this email.
|
|
|
|
|
|
As a member of our free community, make sure to take advantage of everything available to you:
Join our online community of jazz players.
Take our free 7-day soloing challenge - Learn step-by-step how to invent simple but authentic solo phrases.
RSVP to join our Zoom workshop every Friday.
When you are ready, upgrade to our Annual Membership
Our Annual Membership includes our most comprehensive video course, Jazz Fundamentals, the Jazz Comping course, and the archives of all of our past workshops.
|
|
|
|