To jazz that's very modal and not major I'm preferential,
Though to masters of other fashions. . .tip my hat--deferential.
I'm not the type of guy who finds the Hot Five work of Satchmo dull.
I like a type of pie with ice cream plied. . .desserts, à la mode, all.

Harmonically, bebop is tops; it's fast and razzmatazzical.
Melodically, the line gets lost, sometimes--such jazz lacks "canticle."
Can't stand smooth jazz; it's pseudo-jazz; it has been spawned by pop, not blues
When I hear it, I find spirits and pop the top and sop up booze.

When I hear it, I find spirits and pop the top and sop up booze.
When I hear it, I find spirits and pop the top and sop up booze.
When I hear it, it's real clear it's a sop to pop--sonic bad news.

In early days, some great girls made soulful songs, and those gals could cuss,
Like Bessie Smith, acid wordsmith; her lyrics a man's balls could bust.
Speaking of acid: there's a flaccid form that's boring, horrible,
Called "acid jazz," it's rancid, man, sorely uncategorical.

Speaking of acid: there's a flaccid form that's boring, horrible,
Called "acid jazz," badder than rap, sorely uncategorical.

Up until Miles, who rarely smiled, jazzmen didn't much care for rock.
With "Bitches Brew, "he itches to explore the form and dare to rock.
Miles was the man who put his stamp on several genres new to us,
Like cool and fusion; he knew blues 'n' tooted soft and blew robust.

He played with Monk; maybe heard monks, to give him an epiphany--
He heard the chants and took a chance; jazz scored in chords could stiffened be.
In "Kind of Blue," he got into a form that was more thin in chords.
"So What" starts off the album; this number in Dorian is scored.

"So What" starts off the album; this number in Dorian is scored.
Starts in D Dorian > flat-E Dorian; back to D; encores.
Coltrane, Cannonball, Miles, Kelly, Evans, Cobb, Chambers; who'd want more?

Ornette Coleman has much soul, man, amazing how he blew the horn.
Despite the passion, his jazz I shun, sometimes, it's just too free form.
I go back to "Kind of Blue," which, in its time viewed as too notes-ful?
More melodic than harmonic; Miles had birthed cool and, too, modal.

I go back to "Kind of Blue"; Joseph II's view, maybe: too notes-ful?
More melodic than harmonic; Miles had birthed cool and, too, modal.

Coltrane's the main man; some say saint man; his digits were travelin'
Through modes and scales; his hot horn wails; notes and chords are unravelin'.
He'd practice scales for days; understatement: he wasn't very lax.
Tenor, soprano were his forte; not alto or bari sax.

The 70s was fusiony in jazz; rock had its punkery.
Some guys like Ramsey Lewis grew distant--got in a funkery.
90s: Metheny said Kenny G's sharp, not flat--sax, chattery.
Well, actually, his words were worse than that and lacked all flattery.

Well, actually, his words were worse than that and lacked all flattery.
The mere fact that G's classed as jazz by some hacks transcends heresy.
Kenny, Koz, ilk don't play jazz coz improv lacks their repertory.

It seems that now there can't be found any sound real adventury,
But jazz plays on, about to spawn another dawning century.
To jazz that's very modal, not major, I'm still preferential.
Listen to "Kind of Blue" and you, too, might find it quintessential.

To jazz that's very modal, not major, I'm still preferential.
Listen to "Kind of Blue" and you, too, might find it quintessential.