The Big Picture and the Closeup

All over my dorm I was hearing new things, or hearing old things in a new way. One of the most dramatic discoveries for me was courtesy of a guy a dorm block or two over who played the flute really, really well. I’m guessing I heard the sound of his instrument coming from his window, then traced it to the dorm room it came from, and, if memory serves, invited myself into his room.

The big draw, of course, was the main title and the rest of the source music and score by Herbie Hancock. Unbeknownst to me, Hancock was providing me a brief (far too brief) glimpse of the main current of jazz at that moment: modal jazz. If you listen to that main title, you’ll hear that about half of that brief minute-and-a-half is taken up with powerful rhythm guitar and then blasting trumpets doing complicated things that resonate with the G-major 7th and G-minor 7th chords Herbie Hancock is laying down on the piano. This willingness to work away at single chords for extended musical passages, along with not worrying much about orienting entire pieces toward single keys, is the hallmark of modal jazz. For me, a marker had been laid down.