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Double Bass Chromatic Modal?

Seems to origin from Bela Bartok as a way to oppose the 'Dodecaphonie' (the 'vienna school', Berg, Schönberg, Webern). As far as I can recall (studied musicology so many years ago, uff) the system of functional harmony / mayor & minor was not longer useful for the writers who were working towards the end of the 19th century, yet brought close to explosion by Wagners 'Tristanakkord'.

So the 'Chromatic Modal' is another system aiming for the organization of systematic musical hierarchies [e.g. emotion] ...

Is it relevant to jazz theory?
I am not into 'scale-devotion' as this approach to me seem to over complicate things. But I am not all against the thorough analysis of tunes; it can really open your ears.
That being said it seems to me that the 'chromatic modal' could be something like the 'mother of all scales'
 
Seems to origin from Bela Bartok as a way to oppose the 'Dodecaphonie' (the 'vienna school', Berg, Schönberg, Webern). As far as I can recall (studied musicology so many years ago, uff) the system of functional harmony / mayor & minor was not longer useful for the writers who were working towards the end of the 19th century, yet brought close to explosion by Wagners 'Tristanakkord'.

So the 'Chromatic Modal' is another system aiming for the organization of systematic musical hierarchies [e.g. emotion] ...

Is it relevant to jazz theory?
I am not into 'scale-devotion' as this approach to me seem to over complicate things. But I am not all against the thorough analysis of tunes; it can really open your ears.
That being said it seems to me that the 'chromatic modal' could be something like the 'mother of all scales'

Thanks. He seemed to be talking about it as a different approach to analyzing chords in new ways in order to play out. Thanks for the background on it. I'm going to do some digging to see if it is really worth the effort to learn.

Jeremy