Andrew Hill's Refuge
The general school of modern players deals with ignoring chord changes just enough to craft a personal interpretation - the art of the "new". This either allows room for boldly reworking and varying the melody, or for jarring harmonic substitutions. A good example of the former is Brad Mehldau soloing with Joshua Redman in a live 1994 performance of "St. Thomas" , while the latter can be heard in Logan Richardson's solo on "Moment's Notice" (with Hermon Mehari); Melissa Aldana's trio performing "Without A Song" has a little of both. This was anticipated in the 1990's, with players like Steve Coleman, Greg Osby, and Geri Allen who subscribed to the idea of M-BASE music - just listen to this live video of Osby playing "The End Of A Love Affair" (beginning at 1:31): But where did it start? Everyone might have their own answer, but one name comes to mind when thinking of the "new". The 1960's were a decade
