From Camp Meeting (album) .. 2007.
Features: Bruce Hornsby (piano); Christian McBride (upright bass); Jack DeJohnette (drums).
Solar by Miles Davis
Overview
“Solar” is one of the most iconic jazz compositions associated with Miles Davis. First recorded in 1954, the piece appears on the album Walkin’, though it has since been performed and recorded numerous times by Davis and other artists. “Solar” is a staple in jazz, known for its elegant simplicity, its rich harmonic structure, and its role in the development of modern jazz standards. Though often attributed to Davis, there has been some speculation that the tune may have been influenced or derived from guitarist Chuck Wayne’s composition “Sonny,” but it remains primarily associated with Davis.
Musical structure
“Solar” is a 12-bar composition, but it doesn’t follow the typical blues progression. Instead, it offers a more sophisticated harmonic structure that opens up space for exploration and improvisation. The tune is based around a series of minor and major chords that move in a cyclical fashion, with a descending bass line that gives it a flowing, melodic quality. It has a smooth, understated melody that provides a foundation for more complex improvisations.
The harmonic progression in “Solar” is particularly noteworthy for its use of modern jazz techniques, such as chromaticism and modal interchange, which would later become central to Davis’s work in the 1950s and 60s. The piece avoids predictability, which makes it a fertile ground for creative improvisers.
Instrumentation and performance style
Miles Davis first recorded “Solar” with his quintet featuring:
The original recording showcases Davis’s muted trumpet sound, which adds to the track’s cool, introspective vibe. Davis’s minimalist approach allows the tune’s harmonic structure to breathe, while Horace Silver’s piano comping and Heath’s walking bassline provide a steady rhythmic foundation. Kenny Clarke’s subtle drumming complements the soft, flowing nature of the piece.
Each musician brings their own style to the track, but Davis’s solo stands out for its emotional depth and restraint. His phrasing is deliberate and thoughtful, creating a contrast with more frantic bebop solos of the time. Davis’s use of space and silence is key to the mood of the track, demonstrating his belief that “less is more” in jazz improvisation.
Improvisation and modal exploration
“Solar” has become a popular platform for jazz musicians to explore improvisation. The tune’s harmonic structure, while complex, is open-ended enough to allow for a variety of interpretations. Its chords provide ample opportunities for modal improvisation, a technique that Davis would fully embrace in his later work, particularly on Kind of Blue.
The improvisations in “Solar” tend to reflect the cool jazz ethos, with musicians often opting for restrained, melodic solos rather than fast, virtuosic runs. This approach aligns with Da