Miles Davis, So What | Throwback Vibez

In the 33^rd edition of Throwback Vibez (2026), we reflect on “So What” by the iconic jazz musician Miles Davis.  

Can you feel those vibes, those surefire Throwback Vibez?! Throwback Vibez is a column that celebrates awesome songs from the past. Ah, there is nothing like a good oldie to get you fired up! The records featured in this column feature gems from the 20^th century, with a few exceptions. All genres of music are welcome. In the 33^rd edition of Throwback Vibez (2026), we recollect and reflect on “So What” performed by Miles Davis.  

Miles Davis (1926 – 1991) is the M-A-N – the sugar, honey, iced tea when it comes to music.  Jazz was Miles’ wheelhouse, but his influence and innovativeness transcend it.  The man is one of the giants in all of music history. “So What” is one of his greatest compositions and performances in an illustrious catalog.  It commences his 1959 cool jazz, multiplatinum masterpiece, Kind of Blue. Beyond Davis on trumpet, he collaborates with a legendary group of musicians: Cannonball Adderley (1928 – 1975) on alto saxophone, John Coltrane (1926 – 1967) on tenor saxophone, Bill Evans (1929 – 1980) on piano, Paul Chambers (1935 – 1969) on bass, and Jimmy Cobb (1929 – 2020) on drums.  Take one listen to “So What,” and it’s easy to be hypnotized by its sheer musical excellence.

“So What” begins ‘slowly and freely,’ just as the sketch score describes.  Paul Chambers and Bill Evans set the tone.  At times, the left-hand piano and string bass double one another, showcasing the incredible chemistry between the musicians.  Evans’ harmonies are intriguing, sitting atop a sustained D in the bass.  D Dorian ends up being the key, with the difference between it and D natural minor being the raised sixth.  Following the intro, the tempo picks up (moderato) during the head/A section, led by Chambers’ iconic bass line.  The swung bass line is firmly entrenched in D Dorian, with the B natural standing out.  Jimmy Cobb enters the mix, providing time on the drums, while Evans catches the ears with his comping, with quartal harmonies (the top of the chord is a third). Miles Davis, Cannonball Adderley, and John Coltrane enter the mix, matching Evans’ chords. Meanwhile, Chambers continues to eat on one of the greatest bass lines of all time.  Notably, during the head, there is a modulation, up a half step.  The sound remains classy and sophisticated, even with the wrinkle of the challenging E-flat Dorian thrown into the mix. Check out Jeff Bass play through the beastly bass line.

After the head has played out, in all its glory, Miles Davis performs the first solo.  Davis is the definition of cool, never overextending with astronomical notes. His tone is delightful. Still, there are plenty of striking moments when he hits the upper register, staying within the cool aesthetic.  In the second extended solo, by John Coltrane, his saxophone virtuosity is on full display.  His riffs are incredibly rhythmic, and he shows off the upper register in several instances.  His genius can be analyzed, but you don’t have to be a music theorist to understand that Trane was on another level. Cannonball Adderley has a tough act to follow. His alto saxophone solo is impressive too, with his fair share of flurries of notes, and playing with incredible accuracy.  Like Trane, his improvisations are playful, filled with top-notch musicianship and a tremendous ear.  Following the horns, Bill Evans has his moment in the spotlight.  The harmonies take the cake, though his melodic moments are sweet. During his solo, Miles, Cannonball, and Trane perform the head (sans iconic bass). Speaking of the bass, Chambers gets another moment to shine, a brief walking bass line, before returning to the main bass line. Perhaps Jimmy Cobb has a thankless job throughout “So What”, but it’s incredibly important, holding all the hipness together through his drums, particularly the cymbal.  All told, so much more can be said of “So What” – it’s a landmark, cool jazz chart.  But, like all of the great musical masterpieces, even if there is plenty to analyze, it is best experienced by listening and enjoying the ride. Miles Davis ate and left no crumbs.