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MILES, MODAL AND
FREE.
Miles, his sidemen and the movement to
Freedom.
Miles Davis
 M.D was born in 1926 to
a privileged background.
 Miles left St. Louis and
moved to New York to
study at Julliard.
 In N.Y Miles met Charlie
Parker and was his
sideman throughout the
early Bop years subbing
for Dizzy Gillespie.
Modal Jazz
 M.D returned to the East and with his group
recorded another influential album, “Kind of
Blue” in 1958.
 Bill Evans (p.), John Coltrane (t.s.) Paul
Chambers (bs.) Cannonball Adderley (a.s.)
Jimmy Cobb (drums)
Modal Jazz nuts and bolts
 Modal jazz went counter to Be-Bop’s rapid and
dense harmonisation.
 Concept is less chords occupying greater time
within the music.
 Improvisation is based on modes as opposed
to II-V outlining of harmony prevalent in Be-
Bop.
 Provided soloist with harmonic space for
greater expression.
Musical Examples
 Kind of Blue – Miles Davis
The 60’s
 J.C stretched this
modal concept so the
modes he was
implying while soloing
were not the ones
outlined by bass and
harmonic instrument.
 Counter to his 50’s
comp. “Giant Steps”
 ‘Outside’ playing.
Musical Examples
 J.C- My Favorite Things
 J.C – Immortal Concerts, My Favorite Things.
Freer
 Ornette Coleman came to New York from Texas
in 50’s
 His music was highly conceptual and in 1960
recorded album ‘Free Jazz’ (with a double
quintet) which eventually became name of
movement.
 Emphasis is on expression through group
context.
 Good performances are determined by level of
tension/release through non-traditional
harmonic tonal techniques.
Musical Examples
 Ornette Coleman –
Free Jazz
?
 Can all sound be music?

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Miles, Modal and Free Jazz

  • 1. MILES, MODAL AND FREE. Miles, his sidemen and the movement to Freedom.
  • 2. Miles Davis  M.D was born in 1926 to a privileged background.  Miles left St. Louis and moved to New York to study at Julliard.  In N.Y Miles met Charlie Parker and was his sideman throughout the early Bop years subbing for Dizzy Gillespie.
  • 3. Modal Jazz  M.D returned to the East and with his group recorded another influential album, “Kind of Blue” in 1958.  Bill Evans (p.), John Coltrane (t.s.) Paul Chambers (bs.) Cannonball Adderley (a.s.) Jimmy Cobb (drums)
  • 4. Modal Jazz nuts and bolts  Modal jazz went counter to Be-Bop’s rapid and dense harmonisation.  Concept is less chords occupying greater time within the music.  Improvisation is based on modes as opposed to II-V outlining of harmony prevalent in Be- Bop.  Provided soloist with harmonic space for greater expression.
  • 5. Musical Examples  Kind of Blue – Miles Davis
  • 6. The 60’s  J.C stretched this modal concept so the modes he was implying while soloing were not the ones outlined by bass and harmonic instrument.  Counter to his 50’s comp. “Giant Steps”  ‘Outside’ playing.
  • 7. Musical Examples  J.C- My Favorite Things  J.C – Immortal Concerts, My Favorite Things.
  • 8. Freer  Ornette Coleman came to New York from Texas in 50’s  His music was highly conceptual and in 1960 recorded album ‘Free Jazz’ (with a double quintet) which eventually became name of movement.  Emphasis is on expression through group context.  Good performances are determined by level of tension/release through non-traditional harmonic tonal techniques.
  • 9. Musical Examples  Ornette Coleman – Free Jazz
  • 10. ?  Can all sound be music?