So+What+-+contextual+issues

(Maxim) So What - contextual issues


 * 1) 1. Davis' signature sound:


 * playing senza vibrato (his trumpet teacher, Elwood Buchuman often stressed the importance of this, even though it went against the fashion of the time, and would slap Davis' knuckles with a ruler each time he began using a heavy vibrato). This is done throughout most of the work, but particularly at the beginning of B, where although Davis plays a minim, it is clear he is refraining from using vibrato. At certain spots for long notes, David will use a very tiny vibrato that only lasts for a minute portion of the note, for example, at the 10th bar of B on the dotted crotchet, which acts more as an accent than as an expressive vibrato. Miles Davis remarked on this with "I prefer a round sound with no attitude in it..."
 * playing with a mute to create a more husky/breathy sound, evident on quavers such as end of the 3rd bar of B. He is often associated with using the harmon mute, although this is not used in "So What"
 * use of longer note values with legato in a generally lower register to create a free/laid-back sound and effect - the bar of and before B, but also around figure 2 of B, where Davis holds a semibreve which is tied before and after to lengthen the note even further. At the beginning of his solo (B), Davis mostly avoids the upper register to get his signature husky sound, and only later (14th bar of B) does he begin exploring the higher register. He doesn't go higher than a concert Ab (written Bb).
 * use of space to create a freer and uncluttered sound (inspired by Ahmad Jamal who was known for his simple, uncluttered and sparse playing style). This can be seen at bar 12 of B, where Davis leaves an entire bar empty. This allows him to introduce a slightly new idea afterward without the need for further repetition.
 * Davis' uses a very free sense of rhythm and is often behind the beat to add to the relaxed/laid-back atmosphere - around bars 10-11, the rhythm is very free and often behind the beat, and Davis creates gaps between his notes to create even more of a sense of space. He uses ties to make the rhythm even freer (eg. the tying into the minim at bar 15 of B)
 * Davis uses little scoops/glissandi to certain notes (bar 23 of B, slides up to the written B) which again adds to the creation of a freer sound/effect


 * 1) 2. Circumstances of recording:
 * Davis arrived to the recording studio with a skeletal sketch of the tune and basic chord structure and it was first introduced to the performers on the day of recording
 * Davis wished to create spontaneity which would well compliment the modal jazz form
 * He picked his own specific musicians, ones who were well acquainted with the modal jazz genre, who had a relatively simple and uncluttered playing style, and who were talented and creative enough to be spontaneous with limited info (eg. skeletal chord structure, head ostinato and parts of the walking bass) and rehearsals. This contributed to a fresh and free sound.
 * every performance of "So What" is played slightly differently given the information given on the score was limited, allowing for greater creativity (we are studying take 3)
 * the solos are identified by the names of the musicians rather than by their respective instruments (each solo is unique to and improvised by its respective performer. This is evident as the style is noticeably different from one solo to the next, especially between Davis and Coltrane. Each player treats the rhythm slightly differently, and Davis especially is incredibly free and behind the beat).
 * the intro is very dreamy, mysterious and free, with a very improvised feel (where piano and bass have unison quavers, these are quicker than the chordal sections and very natural rather than metronomic.)
 * All the solos are very individual, reflecting spontaneity and the strengths of each individual player (eg. Coltrane is good at fast virtuosic runs while Davis is good at longer legato ideas which are more fragmented) which unifies the modal jazz style and helps to create a free, laid-back atmoshpere
 * overall, each of the solos is in a modal jazz style
 * the double bass loosely outlines D and Eb dorian modes, becoming much more free during the solos and using chromaticism as well as occasionally swung quavers or triplets amongst the walking crotchets (eg. bar 15 of B, and even more so during its own solo, around the 2nd bar of F)