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Modal jazz

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Sub-genre of jazz

This articleis missing information about modulation. Please expand the article to include this information. Further details may exist on thetalk page.(January 2022)

Modal jazz
Cultural origins	Mid-1950s, United States
Typical instruments	Clarinet saxophone trumpet trombone piano double bass drums keyboard electric guitar acoustic guitar

Modal jazz isjazz that makes use ofmusical modes, oftenmodulating among them to accompany thechords instead of relying on onetonal center used across the piece.

Though exerting influence to the present, modal jazz was most popular in the 1950s and 1960s, as evidenced by the success ofMiles Davis's 1958 composition "Milestones" and 1959 albumKind of Blue, andJohn Coltrane's quartet from 1960 to 1965. Other performers of modal jazz includeChick Corea,Bill Evans,Herbie Hancock,Joe Henderson,Bobby Hutcherson,Pharoah Sanders,Woody Shaw,Wayne Shorter,McCoy Tyner, andLarry Young.^[1]

History

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Inbebop as well as inhard bop, musicians use chords to provide the background for solos. A piece starts out with a theme that introduces a series of chords for the solos. These chords repeat throughout the whole piece, while the soloists play new, improvised themes over the repeatedchord progression. By the 1950s, improvising over chords had become such a dominant part of jazz that sidemen at recording dates were sometimes given nothing more than a list of chords to play from.^[2]

Mercer Ellington has stated thatJuan Tizol conceived the melody to "Caravan" in 1936 as a result of his days studying music in Puerto Rico, where they could not afford much sheet music so the teacher would turn the music upside down after they had learned to play it right-side up.^[3] This "inversion" technique led to a modal sound throughout Tizol's work.^[3]

Sun Ra reportedly rehearsed a small group consisting ofHarold Ousley,Vernel Fournier, andWilbur Ware in 1950 that played original songs that were modal in which the melody was based on a single chord or vamp – ten years before this approach became popular in jazz.^[4]

SaxophonistWayne Shorter has noted that the 1953 composition "Glass Enclosure" by pianist Bud Powell was one of the earliest jazz compositions to make use ofLydian chords, based on theLydian mode that was not widely used in jazz until about a decade later.^[5] Powell's 1951Un Poco Loco uses the Lydian chords and even uses Lydian chords stacked on top of each implying apolytonality (Dmajor 7 over C major 7: CEGBDF#AC#) with the improvisation based on alternating Lydian-ish polytonality and analtered dominant chord.^[6]

Towards the end of the 1950s, spurred by the experiments of composer and bandleader George Russell, musicians began using a modal approach. They chose not to write their pieces using conventional chord changes, but instead using modes. Musicians employing this technique include Miles Davis,Freddie Hubbard, Bill Evans,Herbie Hancock, and Wayne Shorter.

Opening chord to "Maiden Voyage": minoreleventh chord (Am9/D).^[7]Play^ⓘ Using DDorian.^[8]

Among the significant compositions of modal jazz were "So What" by Miles Davis and "Impressions" by John Coltrane.^[9] "So What" and "Impressions" follow the same AABA structure and were in D Dorian for the A sections and modulated a half step up to E-flat Dorian for the B section. TheDorian mode is thenatural minor scale with a raised sixth. Other compositions include Davis's "Flamenco Sketches", Bill Evans's "Peace Piece", and Shorter's "Footprints".^[9]

Davis recorded one of the best selling jazz albums of all time in this modal framework.Kind of Blue is an exploration of the possibilities of modal jazz.^[10]^[9] Davis acknowledged the crucial role played by Bill Evans, a former member of George Russell's ensembles, in his transition from hard bop to modal playing. Although his explorations of modal jazz were sporadic throughout the 1960s, he included several of the tunes fromKind of Blue in the repertoire of his second quintet.

Coltrane took the lead in extensively exploring the limits of modal improvisation and composition with his quartet, featuringElvin Jones (drums),McCoy Tyner (piano), andReggie Workman andJimmy Garrison (bass). Several of Coltrane's albums from the period are recognized as examples of modal jazz:Africa/Brass (1961),^[9]Live! at the Village Vanguard (1962),Crescent (1964),A Love Supreme (1964),^[9] andMeditations (1965). Coltrane's compositions from this period such as "India", "Chasin' the Trane", "Crescent", and "Impressions" have entered the jazz repertoire, along with his interpretations of standards like Richard Rodgers's "My Favorite Things", and the traditional "Greensleeves".

References

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^Henry Martin, Keith Waters (2008).Essential Jazz: The First 100 Years, pp. 178-79.ISBN 978-0-495-50525-9.
^"The Story Behind Modal Jazz & Hip Hop".Splice. Retrieved2024-06-11.
^^a ^bEllington, Mercer (24 April 2011) [1994]."Mercer Ellington On Piano Jazz".Piano Jazz (Interview). Interviewed byMarian McPartland. 13:50. Retrieved2013-12-03.Well Tizol did the melody, and he said that, you know, he used to hear those unusual melodies, because in Puerto Rico where he studied, they were very poor and they couldn't afford too much music. So in order to make them get more practice and get varied compositions, they'd turn the music upside down. And the result, you get that modal sound that comes from most of the things Tizol's involved in.
^Szwed, John F. (1997) Space is the place: The Lives and times of Sun Ra (chap. 2). New York: Patheon Books
^Mercer, Michelle (2007) Footprints: The Life and Work of Wayne Shorter. Penguin.
^DeMotta, David J. (2015) The contributions of Earl "Bud" Powell to the modern jazz style. Doctoral dissertation, The City University of New York.
^Kernfeld, Barry (1997).What to Listen for in Jazz, p.68.ISBN 978-0-300-07259-4.
^Herder, Ronald (1987).1000 Keyboard Ideas, p.75.ISBN 978-0-943748-48-1.
^^a ^b ^c ^d ^eSutro, Dirk (2011).Jazz for Dummies.ISBN 978-1-118-06852-6.
^Miller, Michael (2008).The Complete Idiot's Guide to Music History,^{[page needed]}.ISBN 978-1-59257-751-4.