Editing Jazz (section)

===Modal jazz===
{{Main|Modal jazz}}
[[File:Billie_Holiday,_Downbeat,_New_York,_N.Y.,_ca._Feb._1947_(William_P._Gottlieb_04251).jpg|thumb|right|250px|[[Billie Holiday]], primarily known for her vocal delivery, often leaned towards modal thinking, especially when performing ballads.]]

Modal jazz is a development which began in the later 1950s which takes the [[musical mode|mode]], or musical scale, as the basis of musical structure and improvisation. Previously, a solo was meant to fit into a given [[chord progression]], but with modal jazz, the soloist creates a melody using one (or a small number of) modes. The emphasis is thus shifted from harmony to melody:{{sfn|Litweiler|1984|pp=110–111}} "Historically, this caused a seismic shift among jazz musicians, away from thinking vertically (the chord), and towards a more horizontal approach (the scale)",{{sfn|Levine|1995|p=30}} explained pianist [[Mark Levine (musician)|Mark Levine]].

The modal theory stems from a work by [[George Russell (composer)|George Russell]]. Miles Davis introduced the concept to the greater jazz world with ''[[Kind of Blue]]'' (1959), an exploration of the possibilities of modal jazz which would become the best selling jazz album of all time. In contrast to Davis's earlier work with hard bop and its complex chord progression and improvisation, ''Kind of Blue'' was composed as a series of modal sketches in which the musicians were given scales that defined the parameters of their improvisation and style.<ref>{{cite journal|last1=Yudkin|first1=Jeremy|title=The Naming of Names: "Flamenco Sketches" or "All Blues"? Identifying the Last Two Tracks on Miles Davis's Classic Album Kind of Blue|journal=[[The Musical Quarterly]]|date=2012|volume=95|issue=1|pages=15–35|doi=10.1093/musqtl/gds006}}</ref>

"I didn't write out the music for ''Kind of Blue'', but brought in sketches for what everybody was supposed to play because I wanted a lot of spontaneity,"<ref>Davis, Miles (1989: 234). ''The Autobiography''. New York: Touchstone.</ref> recalled Davis. The track "So What" has only two chords: [[dominant seventh chord|D-7]] and E{{music|b}}-7.{{sfn|Levine|1995|p=29}}

Other innovators in this style include [[Jackie McLean]],{{sfn|Litweiler|1984|pp=120–123}} and two of the musicians who had also played on ''Kind of Blue'': John Coltrane and Bill Evans.