Fugue #123

That’s exactly it: The (capital-T) Theme. Zed does laugh, and puts on Miles Davis’ Workin’.

On that record, "The Theme" is a slice of post-bop (it was early 1956, and cool had been born, but not yet reborn as modal), most notable for the fact that it’s less an actual composition than a shuffle: Red Garland’s stride piano, Mr. P.C.’s walking bass, Joe Jones’ drums adding trips and stumbles and quick recoveries. And Miles and Coltrane talking over the click of new soles and heels down New York City streets. Miles’ playing is clear, concise, confident. And that would be the only thing that would remain the same when "The Theme" returned nearly 15 years later.

On the early ‘70s live records - It’s About That Time, Black Beauty, and particularly At Fillmore, "The Theme" is something else entirely. It’s fusion, not bop, obviously; the rhythm section is different - Corea and Jarrett, Dave Holland, Jack DeJohnette - they don’t shuffle, they don’t strut; they run, they fly, they crash and burn and rise up in an alien world. Coltrane is dead, and Shorter and then Steve Grossman play Miles’ new foil. And "The Theme" is an afterthought, a nod to the past, recontextualized and tacked onto material from In a Silent Way, Bitches Brew, even Jack Johnson.

He looks out his window. There’s the city.